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Summary - Pop world pays tribute to George Martin, the fifth Beatle

It began within minutes of the news that Sir George Martin had died at the age of 90; an outpouring of affection and sorrow unmatched by the standards of most celebrity deaths.

From respected artists to ordinary music fans and politicians, anyone for whom music is important to their lives paused and reflected on the passing of the man who came to be known as ‘the fifth Beatle’.

George Martin touches a statue of John Lennon in Havana, Cuba, back in 2002

Fittingly it was Ringo Starr, one of the two surviving Beatles, who told the world of Sir George’s death, announcing the news on his Twitter feed at 4.19am on Thursday.

He said: “God bless George Martin peace and love to Judy and his family love Ringo and Barbara George will be missed.”

A few minutes later Starr added: “Thank you for all your love and kindness George peace and love.”

The singer, who along with John Lennon, George Harrison and Starr, wrote the hit singles and albums which enthralled a generation, said Sir George “was the most generous, intelligent and musical person I’ve ever had the pleasure to know”, adding: “If anyone earned the title of the fifth Beatle it was George.”

Screen grab taken from the Twitter feed of Sir Paul McCartney Photo: Twitter

McCartney also paid tribute to the creative genius of Sir George, crediting the producer with introducing the band to new instruments, sounds and recording techniques.

“The world has lost a truly great man who left an indelible mark on my soul and the history of British music,” he said.

Harrison’s widow Olivia and his son Dhani Tweeted: “George Martin was a gentleman above all. May he rest in peace. Our thoughts are with Judy & the family at this sad time.”

The Prime Minister, David Cameron, was among the first to pay his respects to all that Sir George had achieved in his seven-decade career, which took in classical, jazz, comedy and of course The Beatles, along with performers such as former Beach Boy Brian Wilson, Elton John and Pete Townshend.

George Martin and Paul McCartney in 1966 Photo: DAVID GRAVES/REX/Shutterstock

Mr Cameron said: “Sir George Martin was a giant of music - working with the Fab Four to create the world's most enduring pop music.”

John Whittingdale, the culture secretary, described the producer as “the elder statesman of British pop music and creative genius".

The tributes crossed the generational divide, with younger musicians such as Liam Gallagher and Mark Ronson, producer of numerous hit singles, expressing their loss alongside older practitioners, including the veteran US musician and producer Quincy Jones – who described Sir George as “a brother” – Brian May and former Genesis guitarist Steve Hackett.

Then there were the heartfelt personal tributes, from those who knew and loved him, as a man as well as a record producer.

Sir George's son Giles, who is also a producer and has worked at Abbey Road studios, wrote: "RIP dad. I love you. I'm so proud to have been your son. I'll miss you more than words can say. Thank you for the all times we had together."

Sean Lennon, the son of John Lennon and Yoko One, said: “George Martin. I'm so gutted I don't have many words. Thinking of Judy and Giles and family. Love Always, Sean.”

George Martin with Paul and Linda McCartney in 1988 Photo: RICHARD YOUNG/REX/Shutterstock

Lennon’s eldest son Julian – for whom McCartney wrote Hey Jude – simply said: “It was an honour to know you,” adding: “The Fifth Beatle, without question, and likely one of the best and most iconic music producers of all time.”

Shortly after Ringo’s first broke the news Sir George’s manager, Adam Sharp, issued an official statement.

“The family would like to thank everyone for their thoughts, prayers and messages of support,” it said, going on to state: “In a career that spanned seven decades he was recognised globally as one of music’s most creative talents and a gentleman to the end.”

He had started producing records for EMI’s Parlophone label in 1950 and was noted for his comedy recordings with the likes of Peter Sellers, Spike Milligan and Beyond the Fringe.

But, captivated by the Liverpool band’s youthful enthusiasm and natural wit, he was willing to take a chance on their innovative version of American R&B and with them went on to revolutionise the practice of pop music recording.

Matt Goss (left to right), George Martin, Richard Branson and Kenneth Baker walk across the famous zebra crossing on Abbey Road in London in 1989 Photo: REX/Shutterstock

Sir George – drawing on his classical and jazz music background - introduced the Fab Four to strings and multi-track recording; they introduced him to four bar blues and the sounds of the Mississippi Delta that had entranced them as teenagers.

Gary Kemp, the former Spandau Ballet guitarist and hero of the New Romantics generation, said: “George Martin was the Edmund Hillary of music - adventurer, explorer, discovering routes for pop music we have all gratefully trod behind in.

“He was also a beautiful, gentle man I had the pleasure of chatting to on many occasions. A Giant.”

Hackett said: “I'm sad to hear about the death of George Martin. I've always felt he was much more than just the fifth Beatle.”

Ronson, who has produced albums by Amy Winehouse, Adele and Robbie Williams, said: “Thank you Sir George Martin: the greatest British record producer of all time. We will never stop living in the world you helped create.”

The indie band Bastille, who Tweeted a link to the Beatles’ song Eleanor Rigby, told fans the song was “just one of many, many reasons why George Martin was brilliant and so wonderfully influential”.

George Martin and Paul McCartney during a recording of the South Bank Show in 1984 Photo: ITV/REX/Shutterstock

The Beatles were always quick to credit Sir George’s central role in the creation of the band’s sound.

Before his death at the hands of Marc Chapman in 1980, Lennon said: “George had done little or no rock 'n' roll when we met him and we'd never been in a studio so we did a lot of learning together.

"He had a very great musical knowledge and background so he translated for us and suggested a lot of things which he did. 'Look chaps, I thought of this, this afternoon and I came up with this.' And we'd say, 'Oh great, we'll put it on here.'

"He taught us a lot and I'm sure we taught him a lot with a primitive musical knowledge."

George Martin at Air Studios in Montserrat, West Indies in 197 Photo: Martyn Goddard/REX/Shutterstock

But there were tensions following the break-up of the band as to how much credit Sir George should receive.

These were revealed when letters written by Lennon at the height of his fame were published in 2012.

In response to Sir George’s comment that Lennon and Yoko Ono's 1971 song Power To The People "isn't really very good", Lennon wrote: "When people ask me questions about 'What did George Martin really do for you?', I have only one answer, 'What does he do now?”

Martin King, director of The Beatles Story museum, which is planning a book of remembrance at the attraction in Liverpool's Albert Dock, said: "If Paul, John and George were touched by God with their musical ability, Sir George helped turn that into a three-minute song. He had musical prowess.”

Tweeting a link to song Eleanor Rigby by The Beatles, English indie rock band Bastille shared with their fans: "...just one of many, many reasons why George Martin was brilliant and so wonderfully influential."

George Martin: A man in tune with comedy

He will long be remembered for nurturing and shaping The Beatles, but Sir George Martin also had a pivotal role working with many comedy greats.

He was behind a string of humorous records and novelty hits which went on to enjoy a long shelf-life on light entertainment shows.

Sir George produced recordings by comic legends such as Spike Milligan and Peter Sellers as well as notable songs such as Right Said Fred by Bernard Cribbins and Jake The Peg by Rolf Harris.

Peter Sellers in The Pink Panther Photo: ALAMY

After leaving music college, Sir George worked at the BBC music library before moving on to become assistant to Oscar Preuss, the head of Parlophone Records, an offshoot of EMI which specialised in classical works, jazz, light songs and comedy.

Five years later, in 1955, he became head of the label but continued with his A&R work and producing a wide range of sessions. He worked on an album with music hall duo Flanders & Swann, and did a recording of Beyond The Fringe, the revue which famously led to the success of Peter Cook and Dudley Moore.

Further comedy recordings took place with Sellers, including his single Goodness Gracious Me, and a session with his radio troupe The Goons led to the album Bridge On The River Wye, from a friendship with Milligan was formed.

Other offbeat recordings included The Hippopotamus Song with baritone and broadcaster Ian Wallace and Charlie Drake's My Boomerang Won't Come Back. He virtually cornered the market with his string of novelty tunes, many of which went on to become fixtures on weekly children's radio series Junior Choice, with Nellie The Elephant by Mandy Miller and Terry Scott's My Brother.

But aside from the mirth, Sir George also worked with many other stars of the era including jazz greats such as Cleo Lane, Johnny Dankworth and Stan Getz, as well as The Temperance Seven - featuring John Barry - and his signing Matt Monro.

Different strands of Sir George's career occasionally came together. He produced Sellers once again when the comedy actor recorded his spoof of The Beatles hit Hard Day's Night in a mock Richard III style.

He also worked on Cribbins' cover of The Fab Four's When I'm Sixty Four.

Quincy Jones pays a heartfelt tribute

Telegraph Obituary

Sir George Martin, who has died aged 90, will forever be associated with the music of the Beatles which he helped to create; his work with them redefined both the expectations of pop and the very role of the producer.

While the importance of Martin’s aural contribution to the records made by the group has always been acknowledged — he was regularly hailed as “the Fifth Beatle” — it has not always been appreciated how vital he was to their early career. It was to Martin, then head of Parlophone Records, a subsidiary of EMI, that Brian Epstein turned in 1962 when every other label had rejected the band, and it was Martin who signed the Beatles after meeting them in June of that year.

In giving them a deal, Martin was going against the conventional wisdom of the early pop business. Up to that point, no group per se had been a success, only individual singers such as Elvis Presley and Tommy Steele (whom Martin had turned down); indeed, when Epstein came to him, Martin was looking for a rival to Cliff Richard.

Having ventured north to Liverpool to see the Beatles rock the Cavern Club, Martin understood, however, that it was their collective energy that might make them stars.

C A Management, which represented George Martin, has issued a statement:

We can confirm that Sir George Martin passed away peacefully at home yesterday evening, Tuesday March 8th. The family would like to thank everyone for their thoughts, prayers and messages of support.

Sir George started producing records for EMI’s Parlophone label in 1950. He was noted for his comedy recordings with the likes of Peter Sellers, Spike Milligan and Beyond the Fringe and got his first Number 1 with The Temperance Seven in 1961. He signed The Beatles in 1962 and, with the band, helped revolutionise the art of popular music recording.

In a career that spanned seven decades he was recognised globally as one of music’s most creative talents and a gentleman to the end.

Sir George Martin: Obituary - the man who made the Beatles

Not only did he give the band their record deal, but he brought their visions to life and pieced together their recordings from fragments of tape amassed during long hours in the Abbey Road studios.

The Liverpool quartet had been turned down by every record company as they tried to make it in the music business.

But when Martin - then head of the Parlophone label - heard their demo tape in 1962, then attended an audition session, he spotted something special.

Sir George Martin

There began the partnership which would turn the Fab Four into the world's greatest band and change the face of popular music.

With his genteel manners and refined accent, Martin, born in January 1926, was often regarded as a "toff" who guided the working-class Beatles to fame.

But in reality he was a carpenter's son from Holloway, north London.

He showed an interest in music from an early age, teaching himself to play the piano by ear, and went on to win a place at the prestigious Guildhall School of Music.

Before attending the Guildhall, he spent the years from 1943 to 1948 as an observer with the British Fleet Air Arm, rising to the rank of lieutenant - a period which saw him shed his Cockney accent.

"I've been cast in the role of schoolmaster, the toff, the better-educated, and they've been the urchins that I've shaped," he said of the Beatles.

"It's a load of poppycock, really, because our backgrounds were very similar. Paul and John went to quite good schools. We didn't pay to go to school, my parents were very poor.

"Again, I wasn't taught music and they weren't, we taught ourselves.

"As for the posh bit, you can't really go through the Royal Navy and get commissioned as an officer and fly in the Fleet Air Arm without getting a little bit posh. You can't be like a rock 'n' roll idiot throwing soup around in the wardroom."

On his return from service, Martin enrolled at the Guildhall and made a living playing the oboe in bars and clubs around London.

He married first wife Sheena at 22 and they had two children.

His first job after graduation was in the BBC's music library.

From there he moved on to an assistant position at record label Parlophone, a division of EMI, and rose to become its head by 1955, aged 29.

It was there he met second wife Judy, his boss's secretary, with whom he also had two children.

He was also responsible for comic recordings from the likes of Peter Sellers and Spike Milligan, along with the Beyond The Fringe team of Jonathan Miller, Peter Cook, Dudley Moore and Alan Bennett.

But it was a phone call from music publisher Syd Coleman in February 1962 which changed the course of his life.

Coleman said he had met a man called Brian Epstein, who managed a new band called the Beatles, and would Martin be interested in hearing their demo?

British record producer/composer arranger Sir George Martin Photo: EPA

When Martin heard the tape - which featured versions of Besame Mucho and Three Cool Cats, as well as originals such as Hello Little Girl and Like Dreamers Do - and went on to meet them, he realised their potential.

"I liked them as people apart from anything else, and I was convinced that we had the makings of a hit group," he said.

But he was not convinced they had songwriting ability.

"As composers, they didn't rate. They hadn't shown me that they could write anything at all," he told Melody Maker. "Love Me Do I thought was pretty poor, but it was the best we could do."

Nevertheless, Love Me Do was the band's first single and reached number four in October 1962.

Follow-up release Please Please Me made number two.

Their third single From Me To You went to number one in April 1963 - the first of 17 chart-topping hits.

During their time together Martin also composed scores for the Beatles films A Hard Day's Night - which earned him an Oscar nomination - and Yellow Submarine, which was nominated for a Grammy.

After the band split, Martin started his own music publishing company and set about working with other artists.

George Martin in New Air Studios in Hampstead Village, London Photo: Getty Images

In the mid-1970s, he began building his famous Air Studios on the Caribbean island of Montserrat.

He worked with the likes of Jeff Beck, Bob Dylan, Sting and Sir Elton John and recorded two of Paul McCartney's solo albums, Tug Of War and Pipes Of Peace.

His awards include two Ivor Novellos and in 1999 he was inducted into the American Rock & Roll Hall of Fame.

Martin co-produced Sir Elton John's Candle In The Wind, which was released to mark the death of Diana, Princess of Wales in 1997 and sold 37 million copies.

Around the same time he revealed that decades in the music business had taken their toll - he began to go deaf.

He was knighted by the Queen in 1996 and six years later arranged the musical celebrations for her Golden Jubilee.

Martin continued to produce Beatles music to the end of his career.

George Martin: the so-called "Fifth Beatle"

In 1995 he started work on the Beatles Anthology and in 2006 produced the Love album, a re-working of the band's songs born out of a Las Vegas stage show with circus troupe Cirque Du Soleil and made with his producer son, Giles.

"This is the very last time I shall work on any Beatles' record. I'm 80 years old, for Christ's sake," he said on its release.

Asked for his favourite Beatles memory, Martin said: "If I had to pick just one it would be in 1966, the first ever time I heard Strawberry Fields Forever.

"John played it to me on his acoustic guitar. That moment I shall never forget. It was a wonderful thing to happen and it stays with me even now."

Martin was always adamant that pop and rock could have as much worth as classical music.

"What is the function of rock'n'roll? It's the same as the function of classical music - to make sounds that are appealing to a mass of people and are of some worth," he once said.

"I'm a person who deals in music, and rock'n'roll happened to be part of it."

Sir George Martin at Sotheby's in London, during the announcement of the sale of the instrumental score and BPI sales award for Candle in the Wind '97, the tribute song re-written for the funeral of Diana Princess of Wales Photo: EPA